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De Bruyn combines his particular filmic effect/interest (rhythm) with the tangible reality around him. In Homecomings there is an incredible sense of the filmmaker living and breathing his practice. In what is essentially a diary film of a man going back to his homeland, strange things start to happen: photos are animated too quick to catch, actions are sped up through timelapse, and, most profoundly of all, certain shots get transformed into their drawn-on-film equivalents. When we see (from behind) Dirk's son Kees sitting at a table drawing and then the same scene/action but obviously hand-drawn onto the film, it speaks volumes about the filmmaker and his interaction with the world, and is also a sublimely new configuration (in cinema's history) of sight and sound, of signification if you like. Homecomings is a long auto-biographical/diary film that combines the filmmaker's life with the filmmaker's practice. -Bill Mousoulis
Music
"...No photographed images. All handmade. It's all these squares, lines. The main techniques were bleaching and dyeing and sticking letraset material to the film strip. The images don't rush: they much more fold over the top of one another. Palimpsest. Using the pos/neg flickering helps to sustain the images..." – D.B. from "Where's Our Satellite," Melbourne, Australia (1985)
